The art of Columbian art ribbon-work ..

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THE ART

. . OF . .

COLUMBMjv

ART RIBBON-WORK.

PRICE: 35 CENTS.

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V PUBLISHED BY

THE WEIGAND-MILLER PATENT RIBBON NEEDLE CO.
^v DES MOINES, IOWA, U. S. A.

1895.

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COPYRIGHT APPLIED FOR.

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INTRODUCTORY.

THE unparalleled success of this new methoa of Columbian Art Ribbon-
Work, also the great demand by the needle-craft for a book of
instructions upon the same, has lead us to the publication of this
little book.

In preparing this book of instructions, the author selects a few simple
designs for its pages, beginning first, with a list of suitable fabrics in
the way of drawn-out work, telling how to draw the threads and make
the necessary stitches preparatory for the ornamentation of ribbon, and
second, a lis^ of suitable platted ribbon designs, etc., etc., with which we
have aimed, to place before the student, every step of the work, from the
rudiments to the completion of each design.

Feeling that the contents of this little book will be of material assist-
ance to the learner of this new method, it is with pleasure that we
offer to the craft this valuable book upon Columbian Art Ribbon-Work.

The Weigand-Miller Patent Ribbon needle Co.

CONTENTS.

CHAPTER 1. Page

History of tlie Art of Columbian Art Ribbon-VVork, . . 6

CHAPTER II.

About the Materials — Drawing the Threads — Method of Hemstitch,

Weaving in the Ribbon, etc., .... 7— ii

CHAPTER 111.
Selection of Colors, . . . , , . 12 — 13

CHAPTER IV.
Fancy Design for Tidy or Dresser-Cloth, . . . 14 — 15

CHAPTER V.
Design for Tidy or Mat, . . . . .16

CHAPTER VI.
Design for Sofa Cushion-Cover, . , . . 17 — 18

CHAPTER VII.
Design for Pillow Sham, •..,.. 19 — 20

CHAPTER Vlll.
Border Designs for Tidies or Throws, . . . 21 — 22

CHAPTER IX.
Design for Bolster Slip, ..... 23

CHAPTER X.
Design for Slumber Roll Cover, .... 24 — 25

CHAPTER XI.

Platted Ribbon Designs for Slumber Roll — Sofa Cushion-Cover —

Pin Cushion-Cover, etc., .... 26 — 32

THE ART

. . OF . .

Columbian Art Ribbon -Work.

CHAPTER I.

Never in the history of past years has there been a work of art
more beautiful, fascinating and pleasing to the eye than this so-called
Columbian Art Ribbon-Work, which is fast being recognized by the
needle-craft as a leading work of art.

The origin of this new work was founded during the Columbian year
by a lady of recognized ability among art-needle workers who, while
drawing threads from a linen throw was prompted with the idea of filling
in the drawn-out space with ribbon, instead of lace designs, etc. Being
unsuccessful in the first several attempts to weave in the ribbons, without
soiling the materials, a crude, yet simple device in the way of a flat needle
was thought of and made, that rendered the weaving in of ribbons,
of different widths, side by side, through the drawn-out space, without
impediment; the result was, the beautiful effects produced with the
needle were so much admired by the needle-craft that letters patent were
secured, and later, a stock company formed, who termed it the Weigand-
Miller Patent Ribbon Needle.

This adds another new feature to the lady's work basket that will be
admired by every art-needle worker, as she can, in a moment's time,
ornament with ribbon, any textile fabric that has a drawn-out space.

These needles were also found very useful in executing many beau-
tiful platted ribbon designs, such as sachet bags, handkerchief cases,
slumber rolls, etc., etc., which are very dainty.

Then there are many articles in the way of doylies, scarfs, tray
cloths, etc., also numerous little conveniences of the house, such as dust-
cloth bags, laundry bags, shoe bags and furniture coverings that may be
drawn and ornamented with ribbon.

Again, dresses, night robes, chemise, drawers, knickerbockers, divided
skirts, and various other garments of like nature may be drawn to suit
and ornamented ; those just mentioned as well as a large and varied line
of knit materials, can be purchased of any leading dry goods house,
complete, ready for ornamentation.

THE ART OF COLUMBIAN ART RIBBON-WORK. 7

CHAPTER II.
3lbout tlje )Materials.

THE FABRIC.

The various uses mentioned in cliapter I suggest the fabrics employed
in Columbian Art Ribbon -Work. In this class of work, the beginner
must use judgment in the selection of her materials, always selecting the
best, as the threads are more easily drawn. But the student with a little
experience in this direction will soon be taught the difference between the
material she does want and that which she does not.

For all classes of dressing table, bureau, side-board and table scarfs,
scrim, cheese cloth, silk, and the various linens may be used; while, for
toilet-cushion covers, fmger-bowl doylies, dainty pillow and bolster slips,
etc., linen lawn or grass-linen are preferable.

For tidies, chair scarfs, curtains, etc., scrim, bolting cloth, cheese-cloth,
unbleached muslin, cambric, pongee, silk, etc., etc., may be used.

THE RIBBON.

The most beautiful trimmings for garments or fancy work of every
description are those of ribbon. The plain satin and gros-grain satin edge
ribbons are mostly used in the decoration of Columbian Art Ribbon-Work.
In chapter III, we give a brief description of their uses, also a list of
harmonious groups, which will be of assistance to the learner in the selec-
tion of colors.

The foundation principles for the drawing of the threads in this work
are the same as those in regular drawn-work. In drawing out the threads
for spaces or borders to be ornamented, care should be taken to draw
them out to suit the exact width or widths of ribbon decided upon for
ornamentation. But in all cases, especially if it be for a border inside of
the material, like that displayed in chapter VII, of pillow sham, be sure
to cut the threads at exactly the right points (as more fully described
on the following page) so that they will not extend beyond, or fall shor^-
of the desired line or width of space to be ornamented and thus produce
an untidy, unfmished appearance.

8

THE ART OF COLUMBIAN ART RIBBON-WORK.

No. I.— This engraving shows how to cut a corner and to draw the
threads, so as to leave a continuous border of the material. (Y) shows
how the corner should be cut, and (Z) the effect produced by the threads

WWWIHIIIIIBBiillHlllllill lllliiiliw(»li>niiJiiMJniiMiiiri*lirilllWSfciaiBiaillWip)Wlli^^

NO. 1.— METHOD OF DRAWING THE THREADS.

drawn each way from same. Hence, by a careful inspection of No. i,
it will be seen, that by cutting the four corners at the proper points, and
drawing the threads each way from same, will produce a continuous border
of the material.

NO. 2.— REGULAR OR ORDINARY METHOD

THE ART OF COLUMBIAN ART RIBBON-WORK. 9

. j^Q^ 2— This engraving shows the regular or ordinary way of draw-
ing the threads, which is from side to side of the fabric, thus leaving a
small square of the material at each corner.

}Metl2ob of ne"m6titcl]ing

In hemstitching the first step is to draw the threads, twice the width
of the hem wanted, from the edge. Then the hem is prepared in the
usual way, and basted smoothly down, with its turned-under edge even
with the upper edge of drawn-out space.

NO. 3.— METHOD OF HEMSTITCH.

NO 3 -This is the best method for this work. The thread is first
drawn to the left, then down and over to the right (as seen in engravmg)
the needle being inserted underneath the threads and passed up through
the loop. Each succeeding stitch is made in the same manner as the
first, the needle always being passed up under the fold of the hem before
the next stitch is made.

In hemstitching the student must use her own personal judgment as
to the number of threads she wishes taken up each time, which must be
governed by the different grades of material used.

All washable fabrics, where the edges of drawn-out spaces are not
hemstitched, over-cast them to keep the threads from fraying.

10

THE ART OF COLUMBIAN ART RIBBON-WORK.

The hemstitching finished the next of importance is the weaving in of
the ribbon.

^ea))mz in tl^e f\ibbon. *

This part of the work, at first, may require some little attention, but
the beginner with a little practice will readily acquire the art.

NO. 4. FLAT VIEW OF RIBBON NEEDLE.

No. 4. — This engraving represents flat view of the Weigand-Miller
Patent Ribbon Needle. In weaving, care should be taken to use the proper
size for the different widths or Nos. of ribbon, which will avoid the unnec-
essary binding, and will oftimes save the eye of the needle from breaking
through over-exertion or carelessness.

No. I, small size, will carry Nos. i, 2 and 3.
No. 2, medium size, will carry Nos. 5 and 7.
No. 3, large size, will carry Nos. 9 to 16 inclusive.

NO. 5. METHOD OF THREADING THE NEEDLE.

No. 5.— Method of Threading the Needle.— insert end of ribbon

up through second slot from large end from underneath at (A) and down
through first slot from top at (B) which makes it self-binding; hence will
never come unthreaded.

Engraving No. 6 represents a tidy with threads drawn out inside of
hem the width of a No, 4 and a No. 7 ribbon, showing the No. 4
woven through every other five threads on the inner part of drawn-out
space and tied in bow knot at upper left hand corner; also shows the
needle in weaving operation, filling in the No. 7.

Any number of ribbons of different widths can De woven side by side
by weaving through the opposite threads each time as seen in illustration;
but, the artist must use judgment as to the number of threads she wishes
to be taken up.

THE ART OF COLUMBIAN ART RIBBON-WORK.

II

SHOWS
I NEEDLE
LEADING
RIBBON.

NO. 6.

Nos. 7 AND 8.— Details for forming Corner.— First, fold the

ribbon together at line (A A) then take hold at corner (C) and fold

over diagonal to line (B B) being careful to make the folds exact,

which will produce the square corner as seen at No. 8. Tack outer and
inner corners at (B B) to keep in shape.

NO. 7. ^"^S'' NO. 8.

NOS. 7 AND 8.— DETAILS FOR FORMING CORNER.

Having given a general description of the uses, materials, etc., we
will on the pages immediately following the "Selection of Colors,'*
describe each design as it appears.

12 THE ART OF COLUMBIAN ART RIBBON-WORK.

CHAPTER III.

^election of Colors.

As this is an important feature of the worl<, harmony in colors must
always be observed. Therefore, to assist the artist in her selectons, we
give the following list of harmonious groups •

Blue and gold (or gold-color), a rich harmony.

Blue and orange, a perfect harmony.

Blue and salmon, an agreeable harmony.

Blue and lilac, a weak harmony.

Blue and drab, harmonize.

Blue and stone-color, harmonize.

Blue and fawn-color, a weak harmony.

Blue and white (or gray), harmonize.

Blue and straw-color, harmonize.

Blue and maize, harmonize.

Blue and chestnut (or chocolate) harmonize.

Blue and brown, an agreeable harmony.

Blue and black, harmonize.

Blue, scarlet and purple (or lilac) harmonize.

Blue, orange and black, harmonize.

Blue, orange and green, harmonize.

Blue, brown, crimson and gold (or yellow) harmonizec

Blue, orange, black and white, harmonize.

China-blue and old rose, a rich harmony.

Crimson and gold (or gold-color), a rich harmony.

Crimson and orange, a rich harmony.

Crimson and maize, harmonize.

Lilac and maize, harmonize.

Lilac and cherry, an agreeable harmony.

Lilac and scarlet, harmonize.

Lilac and crimson, harmonize. §

Lilac, scarlet and white, or black, harmonize.

Lilac, gold-color and crimson, harmonize.

Lilac, yellow or gold, scarlet and white, harmonize.

Orange and chestnut, harmonize.

Orange and brown, an agreeable harmony.

Orange, lilac and crimson, harmonize.

Orange, red and green, harmonize.

Orange, blue and crimson, harmonize.

Orange, purple and scarlet, harmonize.

Orange, blue, purple and scarlet, harmonize.

Orange, blue, scarlet and claret, harmonize.

Orange, blue, scarlet, white and green, harmonize.

Pale blue and pink, (a French combination) haimonize.

THE ART OF COLUMBIAN ART RIBBON-WORK. 13

Purple and gold, or gold-color, a rich harmony.
Purple and orange, a rich harmony.
Purple and maize, harmonize.
Purple and blue, harmonize.
Purple and black, a heavy harmony.
Purple and white a cold harmony.
* Purple, scarlet itnd gold-color, harmonize.
Purple, scarlet and white, harmonize.
Purple, scarlet, blue and orange, harmonize.
Purple, scarlet, blue, yellow and black, harmoni2;&.
Red and gold (or gold-color) harmonize.
Red and white (or gray) harmonize.
Red, orange and green, harmonize.
Red, yellow (or gold-color) and black, harmonize.
Red, gold-color, black and white, harmonize.
Red and gold (or gold-color) harmonize.
Red and white (or gray) harmonize.
Red, orange and green, harmonize.
Red, yellow (or gold-color) and black, harmonize.
Red, gold-color, black and white, harmonize.
Scarlet and blue, harmonize.
Scarlet and orange harmonize.
Scarlet and slate-color, harmonize.
Scarlet, black and white, harmonize.
Scarlet, blue and white, harmonize.
Scarlet, blue and gray, harmonize.
Scarlet, blue and yellow, harmonize.
Scarlet, blue, black and yellow, harmonize.
Scarlet and blue, harmonize.
Scarlet and orange, harmonize.
Scarlet and slate-color, harmonize.
Scarlet, black and white, harmonize. ^■

Scarlet, blue, and white, harmonize.
Scarlet, blue and gray, harmonize.
Scarlet, blue and yellow, harmonize.
Scarlet, blue, black and yellow, harmonize.
White and gold-color, a poor harmony.
White and scarlet, harmonize.

The groups just given are but few and the artist who has taste in
this direction can make any combination she wishes by interchanging
colors from the different groups.

The lighter shades or tints are used for the decoration of fancy-work
while the darker ones for the ornamentation of personal effects such as
underwear, dresses, etc.

14 THE ART OF COLUMBIAN ART RIBBON-WORK.

CHAPTER lY.
fancg Desisn for 'Ci^H o^ Di'esser Clotl].

: ^ IJ

NO. 1.— DESIGN FOR TIDY OR DRESSER CLOTH.

'/ Tt tt:^,< « f » f t » t ■JMmmmti^-'* t V't^im.

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iSiipiiiiWpPPItkffi

NO. 2.— DETAIL FOR DESIGN.

THE ART OF COLUMBIAN ART RIBBON-WORK.

15

In this chapter three illustrations are given of fancy design for tidy or
dresser-cloth which may be developed particularly well with either fine or
coarse linens or any suitable fabric of which the threads may be success-
fully drawn.

FANCY DESIGN FOR TIDY OR DRESSER-CLOTH.
No. I.— This engraving represents the design mentioned and is made
of linen scrim. The details for this design may also be applied to shams,

splashers, toilet sets, etc

NO. 3.— DETAIL FOR DESIGN.

NOS. 2 AND 3.— The first in beginning this design is to draw the
threads for the border, which is done by the ordinary method, and hem-
stitched as given on previous pages in chapter II. The border hemstitched,
then with a pair of sharp scissors, cut the threads next to hem at both
sides of tidy, the width of a No. 5 and a No. i or baby ribbon, and draw
the threads from hem to hem as seen at No. 2. Next, cut and dr^w
the threads for the space the long way the width of a No. 7 ribbon.
Over-cast all edges of inner drawn-out spaces to keep the threads from
fraying. No. 3 shows the ribbon partially woven in, with needle in weav-
ing operation.

i6

THE ART OF COLUMBIAN ART RIBBON-WORK.

CHAPTER Y.
Design for "ij^z ov )Mat.

DESIGN FOR TIDY OR MAT, WITH DETAIL.

in the above engraving it will" be noticed that only one-half of design
for tidy or mat is finished, leaving the bottom and right side to show the
detail. It may be developed in various ways to suit the taste and can
be made of cheese cloth, China silk, pongee, scrim, etc.; the one just
mentioned is made of scrim. The details of this design can also be
successfully used for table-covers, throws, splashers, dresser-cloths and
furniture coverings.

The drawing of the threads in this design is the ordinary method,
from side to side, as described in chapter II, leaving a block of the material
at each corner. Space (A to A) shows detail before hemstitched, and
(B to B) after hemstitched. Over-cast inner edges of drawn out spaces to
keep threads from fraying out.

. As can be seen in engraving, the right and left sides are each drawn
out the width of two No. 3 ribbons, showing them wove in on the left,
and the top and bottom each the width of a No. 5, showing top space filled
in. Fill right-hand side to match left side and bottom to match top.

THE ART OF COLUMBIAN ART RIBBON-WORK.

17

CHAPTER YI.
Design for Sofa Cwsljion-Coi^er.

DESIGN FOR SOFA CUSHION-COVER, WITH DETAIL.

By this time the student of Columbian Art Ribbon -Work has dis-
covered that its designs are easy to accomplish ; for as in any branch of
art, after the student has learned the rudiments of the work the task is
found comparatively easy. Hence, after she has learned the rudiments of
this work, which consists of a hemstitch and the art of weaving in the
ribbon, she will find very little difficulty in developing the most intricate
designs. The possibilities of the work are numerous, and as each learner
progresses she will find that her individual taste will suggest many new
and pretty combinations other than the various patterns given here.

SOFA CUSHION-COVER.

The above engraving represents the design mentioned and is made of
double width linen scrim, folded half and sewed to form a case, with the
open end hemed. Can also be made of any other material of which the
threads can be successfully drawn, and in various ways.

I8 THE ART OF COLUMBIAN ART RIBBON-WORK.

DETAILS FOR DESIGN.

In this design, only the upper half of case is drawn out through the
center, both ways, and hemstitched as directed in chapter II. The engrav-
ing shows space (A to A) hemstitched, four strands or threads to a stitch,
while (B to B) shows the space ornamented with a No. 7 ribbon, edged
with a No. i or baby ribbon, with ends tied in bow knot at left side.
Ornament both drawn-out spaces alike.

A very dainty addition can be made by putting a hemstitched ruffle
of the same material around outer edge, with threads drawn out inside of
hem the width of a No. i or baby ribbon, and ornamented.

A Word or Two of Advice.

Although the student in Columbian Art Ribbon -Work has been
cautioned in previous chapters to do her work carefully, it will not be a
waste of time or words to advise her still further.

Where several rows of ribbon are woven side by side, through the
same drawn-out space, care should be taken to take up the same number
of threads each time, which will give a neat, even appearance when
finished.

In drawing threads, be sure to cut them at exactly the right points so
that they will not extend beyond, or fall short of the desired line or width
of space to be ornamented, and thus produce an untidy and unfinished
appearance.

THE ART OF COLUMBIAN ART RIBBON-WORK.

19

CHAPTER YII.
Design for pillob) Sljam.

DESIGN FOR PILLOW SHAM, WITH DETAIL.

With plenty of time, a taste for the employment and even the few-
examples of Columbian Art Ribbon -Work so far given, and what a field
of work opens out before the student of this present, modern applied
decoration. The designs so far have been very pretty, the present one
being exceptionally so, and the artist by using proper judgment, will find
that her privileges in the matter of combinations are limitless and thus she
may work out her own ideal upon new and original designs.

20 THE ART OF COLUMBIAN ART RIBBON-WORK.

- DESIGN FOR PILLOW SHAM.
The engraving on preceding page, represents a pattern designed
especially for a pillow sham, and may be made of any material to suit.
The one just mentioned is made of India linen lawn, and adds a very dainty
addition to the appointment of a lady's bedroom or boudoir. The details
of this design may also be successfully employed for doylies, tidies, table-
covers, etc., etc.

DETAILS FOR DESIGN.

The material selected, the first to be done is to draw a few threads
for the border, twice the width of the hem wanted, from the edge, by the
ordinary method, from side to side, leaving a block of the material at
each corner, and hemstitched as directed in chapter II, four strands or
threads to each stitch ; but the artist must use judgment as to the number
of threads she wishes to be taken up each time, which must be governed
by the material used.

The threads drawn and border hemstitched, next cut the corners and
draw threads for first space to be ornamented, inside of hem, the width of
a No. 5 and a No. 7 ribbon, so as to leave a continuous border of the
material, as also directed in chapter II.

Next, cut the corners and draw threads for second or inner space, the
width of two No. 5 ribbons ; then over-cast all inner edges of drawn spaces
to keep threads from fraying out.

The engraving shows drawn space next to hem ornamented, while the
second or inner space only partially, with the needle in weaving operation.

In weaving the ribbons in this, or any other design, having a con-
tinuous border, the artist will find it more convenient, where two or more
are woven in through the same drawn space, to always weave in the inner
ribbon of each space first. (For forming corners see figures 7 and 8,
chapter II.)

THE ART OF COLUMBIAN ART RIBBON-WORK.

21

CHAPTDR YIII.
iSorber O^signs for ^^bks or 'C'j^obJs.

NO. 1— BORDER DESIGN FOR TIDY OR THROW.

Three very handsome border designs are here shown, for tidies or
throws, which may be developed particularly well with scrim, bolting cloth,
cheese-cloth, unbleached muslin, cambric, China silk, pongee, etc., etc.
The details of these designs may also be applied to any other article admit-
ting of a border finish, such as skirts, aprons, children's dresses, scarfs,
furniture coverings and draperies.

The artist will find most of the details of these patterns already within
her possession, if she has mastered the instructions for the work given
on the previous pages.

DETAILS FOR BORDER DESIGNS.
In engraving No. i, the threads are drawn out in three places, by the
ordinary method, from side to side, and hemstitched or over-cast as directed
in previous chapter II, with lower edge frayed out and knotted to form a
fringe; also shows drawn spaces ornamented. In all cases, it must be
understood that the space or several spaces are to be drawn exact to suit
the width or several widths of ribbon as may be decided upon for orna-
mentation.

THE ART OF COLUMBIAN ART RIBBON-WORK.

m

NO. 2.— BORDER DESIGN FOR TIDY OR THROW.

In engraving No. 2, the threads are drawn the same as for No. i,
and has a hem at lower edge, instead of fringe; also shows space
drawn out inside of hem the width of eight No. i or baby ribbons, and
ornamented. A very pretty addition can be made by edging hem with
open lace, which may also be ornamented.

NO. 3.— BORDER DESIGN FOR TIDY OR THROW.

Engraving No. 3 shows a drawn design for tidy, similar in detail to
No. I, which can be purchased from any leading dry goods house, ready
to be ornamented. Numerous fabrics of same nature as well as table
linens, netted hoods, etc., etc., can also be had, ready for ornamentation.

THE ART OF COLUMBIAN ART RIBBON-WORK.

23

CHAPTER IX.
Design for "jSolster ^\\p.

M.

J

DESIGN FOR BOLSTER SLIP.

This engraving illustrates a very delicate design for a bolster slip, the
material used being linon. Although the engraving fully explains itself,
we will, to aid the artist, give a brief description of its details.

DETAILS FOR DESIGN."

The first to be done in this design is to draw three threads, of equal
distance from each end, for the borders, the full width of the fabric, allow-
ing sufficient material for the hem. The threads drawn, next join the
fabric to form a case, making drawn-out spaces exactly meet; then hem
both ends. Next draw balance of threads for the borders, the width of the
ribbon decided upon for ornamentation, and over-cast edges to keep threads
from fraying. ♦

In this design, each border is drawn out the width of a No. 5 ribbon,
showing the left one complete. Ornament right border to match.

A combination of several widths of baby ribbon will also be found
very pretty and effective for the borders.

24

THE ART OF COLUMBIAN ART RIBBON-WORK.

CHAPTER X.

Resign for 3'w^ber %o\\
Colder.

The design here shown is

one of great delicacy and

beauty, but as it involves many

of the principles illustrated in

previous chapters, the worker

should experience little difficulty

in its reproduction. Even

though she has not mastered

all the details of the patterns

2 heretofore given but who has a

o fair knowledge of the founda-

o

-J tion principles, will also be able

2 by a careful inspection of the

£ illustration, to copy the design

5 with little or no trouble.

DESIGN FOR SLUMBER
ROLL COVER.

This engraving represents
the handsome design just men-
tioned and may be made of
butcher's linen, damask, scrim,
etc., etc.

As seen in engraving, the
left half only, of design, is com-
plete, while the right half shows
the delicate borders hemstitched
ready for ornamentation.

DETAILS FOR "DESIGN.

In beginning this design,
tlie first, after selecting the

THE ART OF COLUMBIAN ART RIBBON-WORK. 25

material (which is five-eighths of a yard long and three-eighths of a yard
wide) is to draw the threads the desired width for the draw-ribbons (about
four inches from each edge) then join to form a case — making drawn-out
spaces meet.

Next, draw the threads for the borders the long way of the fabric,
the width or widths decided upon for ornamentation, leaving the back
plain, and hemstitch in the usual way as directed in previous chapter II,
or the edges may be merely over-cast to keep threads from fraying; then
hem the ends and ornament with ribbon.

In weaving in the ribbons, fill in the borders the long way first and
tack at each end to hold in place. Then weave in the draw-ribbons and
draw the ends to hold roll in place as seen at left of engravmg.

26

THE ART OF COLUMBIAN ART RIBBON-WORK.

CHAPTER XI.

piatteb TF\ibbon Designs for plumber TF\oll, Sofa Cusl^ion-
Coi^er, P'm Cusljion-CoDei', 6tc., 6tc.

Among the many handsome specimens of Columbian Art Ribbon-
Work, displayed in this bool<, are the platted designs shown in this
chapter, which are but few of the beautiful effects that may be made with
ribbon. They are dainty, easy to make, and the artist who has taste in
the harmonization of colors, can, with what knowledge she has already
received in her previous lessons, originate many more.

NO. 1.— DESIGN FOR PLATTED SLUMBER ROLL.

DESIGN FOR PLATTED SLUMBER ROLL, WITH DETAIL.

NOS. I AND 2. — This engraving represents a design for a slumber
rolL It is something new and dainty, and is a very pretty addition to
a chair. It may also be developed in various ways.

No. 2 shows how to develop the slumber roll. The first to be done
is to select the ribbons— the No. or width of ribbon used always depends
upon the size of slumber roll desired. The one just mentioned is made
with two shades of No. 9 ; a pink and olive green.

THE ART OF COLUMBIAN ART RIBBON-WORK.

27

The ribbon selected, next take cotton batting and form a solid roll
twelve inches long and four inches through, and tack with an over-and-
over stitch to hold roll in shape.

Commence covering the roll of batting with the first shade of ribbon
(pink) pinning it at upper left-hand corner (A) and place diagonally, down,
around and up over, and pin at (B) leaving at least six inches of ribbon
at either end. The second ribbon is placed identically in the same manner
as the first one and so on until entirely covered one way.

NO. 2.— DETAIL FOR PLATTED SLUMBER ROLL.

Having covered the roll one way with the pink ribbon, next thread
the needle with the olive green ribbon, and commence weaving in the
opposite direction, from upper right-hand corner (B) inserting the needle
under and over every other ribbon, which will form the diamond-shaped
plats, as shown at No. i. Continue weaving until entirely platted ; the
pins removed, then notch out ends of ribbon to suit, drawing them closely
down over ends and tack, over which tie the cross-ribbons.

DESIGN FOR SOFA CUSHION-COVER.

No. 3.— The engraving shown on next page, represents a very hand-
some design for a sofa cushion-cover. Tidies, mats, book-covers, etc.,
can be made on the same plan.

The ribbon selected (white and green) commence placing tha first
shade (white) from left to right on a square of card-board or newspaper
and pin at each end to hold in place; the required number of ribbons (10)
placed one way, then thread the needle with the green ribbon and begin
weaving over and under every other ribbon until entirely platted, which
will produce the checkered effect as seen in the engraving. Baste around
the outer edge, then face back with material to suit and turn right side
out. Finish corners with bow knots.

28

THE ART OF COLUMBIAN ART RiBBON-WORK.

NO. 3.— DESIGN FOR SOFA CUSHION-COVER.

NO. 4.— DESIGN FOR PIN CUSHION-COVER.

THE ART OF COLUMBIAN ART RIBBON-WORK.

25

DESIGN FOR PIN CUSHION-COVER.

No. 4. — The design shown by engraving on opposite page of pin
cushion-cover is very pretty and requires little or no trouble in reproducing
it. It is developed the same as No. 3, only that the ribbons are woven
diagonally, thus giving the plats a diamond shape. Face the back with
material to suit, and edge with lace.

NO. 5.~DESIGN FOR PARTY OR SHOPPING BAG.

, DESIGN FOR PARTY OR SHOPPING BAG.

NO. 5.— This engraving shows a very pretty design for a party or
shopping bag, and by a close inspection of the engraving, and the follow-
ing instructions, the student should experience but little difficulty in its
reproduction.

The ribbon selected, (a No. 9) the first to be done is to take a piece
of card-board the width of five ribbons and the depth to correspond (the
artist using a little judgment in this direction) and commence by placing
the strips of ribbon around the narrow way of the board from left to
right and tack. The required number of strips (5) having been placed
the narrow way of the board, then cut and weave in the side ribbons.

30

THE ART OF COLUMBIAN ART RIBBON-WORK.

In preparing the side ribbons, each strip should be twice the length oi
bag wanted, allowing six inches extra for fringe at top. Thread the needle
and commence weaving from top at upper left-hand corner, over and
under every other ribbon, crossing over bottom and up opposite side. The
side ribbons all woven in, then work a feather edge stitch at top next to
fringe to form a casing through which to put the draw-ribbons. This
stitch will also serve to hold the ribbon in shape.

DESIGN FOR FAN BAG.
NO. 6. — This engraving shows a design for a fan bag. It may be
made of any width of ribbon to suit, but a No. 3 is preferable. The

details for this design are similar to
those just given for No. 5. Although
very easy to develop, we will, to aid
the artist, give a general description
of its details.

The ribbon selected (a No. 3
pink) then take a piece of card-board
and cut it the width of six and one-
half ribbons and the depth to corres-
pond with length of fan.

Next, cut six strips of ribbon
twice the length of the depth of fan
bag, allowing six inches extra for
the fringe. Then fold first strip half the
long way, and place over bottom B (allow-
ing the ribbon to cover both sides of card-
board) and pin at top A to hold in place,
thus leaving three inches of ribbon on either
side at top for fringe as seen in engrav-
ing. The second ribbon is placed identically
the same as the first and so on. The six
ribbons placed, then cut a single strip of
ribbon the length of fan bag (allowing six
inches extra for bow-knot at bottom) and
fold half the narrow way and place over
edge from C to D. Then thread the needle
and commence weaving at corner D (again

NO 6

-DESIGN FOR FAN BAG.

leaving six inches of ribbon for bow-knot) over and under every other

THE ART OF COLUMBIAN ART RIBBON-WORK.

31

ribbon, round and round the card-board, until entirely platted, stopping at
top C and tack. Next, tie tlie two ends in a bow-knot at D, then baste
around the top next to fringe and remove pins and finish with feather
edge stitch to hold ribbon in place. Then sew on the arm loops.

NO. 7.—DESIQN FOR SACHET BAG.

DESIGN FOR SACHET BAG, WITH DETAILS.

NOS. 7, 8 AND 9.— Engraving No. 7 shows the design complete, while
Nos. 8 and 9 show how it is developed. The colors of ribbon used, are
pale blue and pink.

The ribbon decided upon, next take four layers of sheet-wadding the
square of the number of widths of ribbon you desire to make sachet bag,
and place the sachet powder between the layers and over-cast the edges
to hold powder in place.

Next, face the two ribbons and tack them to corner A as seen at No.
8 on following page, and commence placing the first shade of ribbon across
to B, then down under and up over corner C, then across to D, again
crossing the corner underneath and over corner to E and so on until
entirely covered, the ribbon terminating on opposite side at top, leaving
about six inches of ribbon for bow-knot.

32

Tt4E ART OF COLUMBIAN ART RIBBON-WORK.

No. 8, front view, shows the ribbons to be parallel from left to right,
while on the opposite side they are perpendicular as seen at No. 9.

Next, thread the needle with last shade of ribbon and commence
weaving from same point A on opposite side of No. 8 (which is shown

NO. 8, FRONT VIEW. NO 9, BACK V/£W,

NOS. 8 AND 0.— DETAILS FOR SACHET BAQ.

at No. 9) over and under every other ribbon and .across corners until
entirely platted— being careful to cross corners perfectly square. Then
tack both ribbons at top and tie ends in a neat bow-knot.

NO. 10 —DESIGN FOR LADY'S DRESS-YOKE.

DESIGN FOR LADY'S DRESS-YOKE.
No. 10.— This engraving shows a design for a lady's dress-yoke. In
developing it, first, cut the lining for the yoke; then weave over it the ribbon

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